Jimmy: Hey everybody, welcome back to the show. This is 1994 Part 2 here on Unpacking Peanuts and I'll be your host for the proceedings. My name is Jimmy Gownley. I'm also a cartoonist. I do things like Amelia Rules, Seven Reasons not to Grow up and the Dumbest Idea Ever. And you can find my new comics over there on gvillecomics.substack.com. Joining me as always, are my pals, co hosts and fellow cartoonists. He's a playwright and a composer, both for the band Complicated People as well as for this very podcast. He's the co creator of the original comic book price guide, the original editor for Amelia Rules, and the creator of such great strips as Strange Attractors, A Gathering of Spells and Tangled River. It's Michael Cohen.
Michael: Say hey.
Jimmy: And he's the executive producer and writer of Mystery Science Theater 3000, a former vice president of Archie Comics and the creator of the Instagram sensation Sweetest Beasts. Its Harold Buchholz.
Harold: Hello.
Jimmy: So guys, we are here in 1994. We are about to start the second run of strips. Does anyone have anything theyd like to talk about up front? I have something 1994 I want to discuss at some point, but it doesn't have to be right now. Harold, do you got anything?
Harold: No, I think I'll save it for our third installment.
Jimmy: Okay. Michael, how about you?
Michael: No, no preamble.
Jimmy: Okay, well I have something that I was thinking about the most 1994 thing that ever 1994d and I honestly think we're still swimming in the wake of it. This was the year of the O.J. Simpson murders. I think that like you know, good old From Hell by Alan Moore.
Michael: Yeah.
Jimmy: And he talks about how all the bad stuff in the 20th century you could trace back to Jack the Ripper.
Michael: Okay.
Jimmy: I think all the bad stuff in the 21st century he could chase back to the O.J. simpson.
Michael: I loved the O.J. Simpson trial.
Jimmy: The best.
Michael: Okay, so Snoopy is going to be the lawyer.
Jimmy: Johnny Cochran,
Michael: Snoopy is Johnny Cochran.
Jimmy: It's just, it's so strange. David Lynch passed away and as I mentioned I'm a big David Lynch fan. So I was just watching old interviews and stuff and he talked about how the OJ Simpson trial really influenced them because it was just such a media circus. And I just thought, this is the world we were in in 1994. That is what people were swimming in from basically the middle of this year till the end or the beginning of the next year. It's like.
Harold: Or two is a chilling thought. What if the OJ Thing had happened, like, two years later when the Internet exploded?
Jimmy: Oh, it is a chilling though.
Michael: Yeah. No, the universe could not contain that much.
Harold: It's like the last big, big thing, kind of before the Internet reshaped and redefined how we discussed these things and learned about them and talked about them.
Jimmy: But it's the first point. Well, probably not the first point, but it's the first. The biggest point in my lifetime where it really felt like, oh, people are just choosing their own reality.
Harold: Yeah.
Jimmy: It was the point that nothing mattered except what you wanted to matter.
Harold: That's true. You could see how people were looking at it through various filters and could see the same thing 180 degrees opposite.
Jimmy: Yep. Yep. Well, just a fun thought to start off a comic podcast. Talking about a cartoon dog and his friend, the happy Bird. Just. I'd throw that out there.
Michael: Who is Woodstock?
Michael: Oh, he's gotta be
Jimmy and Michael: Kato Kaelin
Jimmy: Yes, of course. I knew it was worth bringing up. All right, how about we just hit the old strips?
Michael: Let's do that.
March 2nd, a little girl, that’s all I’ll say for now, Comes up to Snoopy, who is lying atop his dog housee, and she says to him, wake up. It's a perfect day for chasing rabbits. Then the little girl runs away because apparently Snoopy has left. And she says, what are you doing? And then we see Snoopy standing on the sidewalk holding out sheets of paper. And, the little girl says, you don't catch rabbits by handing out literature.
Michael: So I have some theories here.
Jimmy: All right, lay it on me.
Michael: Okay, number one, this is Patty with zipatone hair, which we've never seen before. B It's Frieda.
Jimmy: Uh-huh.
Michael: With a Patty wig. Or it's Charlie Brown in drag.
Jimmy: That's the one I like's one I'm picking. now the Peanuts wiki even doesn't know-- it lists this strip as possible appearance of Patty. Harold, what do you think? Do you think this is Patty or.
Harold: No, without any introduction of this character just kind of showing up in the strip. That seems so unlike Schulz. So I'm assuming he thinks it's Patty.
Jimmy: It's. What is it? Other than the zipatone, there's other difference. I mean, Michael, can you pinpoint what the difference is? Could it just be attributed to him not having drawn her for so many years?
Michael: Well, I noticed I always assume Patty was blonde, but I noticed in the Sundays she's got red hair and sometimes Brown or Brown, which. Which means, you know, you can zipatone it. Yeah, I think it's Patty. But then again, I compared that face and panel three with a Charlie Brown and a strip coming up on March 20th. They're virtually exactly the same.
Jimmy: Wow. Yeah, I can see that. Yeah, it's really strange. Like I just blew it up huge. And if you just, know, cut out the hair entirely. It's a very Charlie Brown face. One of the worst specials, by the way. A very Charlie Brown face.
Harold: Well, I prefer it to the girl with the zipatone hair, but
Michael: That was a whole other character.
Jimmy: That's right. We already did have the girl with the zipatone hair.
Michael: Yeah. My other question here is, what is the content of this literature he's handing out? Is it pro rabbit? Is it pro chasing rabbits? I don't understand.
Jimmy: Well, I think he's looking at it in the sense of like he's chasing rabbits to join whatever he's looking to have them join. And she's of course, looking at it like a sane person, a dog would chase rabbits. I'm not sure though. Maybe Snoopy's into Scientology at this point.
Harold: It's little mini bios of Helen Sweetstory.
Jimmy: I like that.
March 10th. Okay, now we're in the middle of a little sequence here where our friend, good old Roy Ann Hobbs, has come back and she has just sold Lucy her great grandfather Roy Hobbs bat. And, Lucy is standing on top of the mound with Charlie Brown. And Roy Ann's there and Lucy's holding the bat and she says to Charlie Brown, hi, Charlie Brown. This is the weird kid who sold me the bat used by Roy Hobbs. Then Lucy whispers to Charlie Brown, I only paid her a dollar. And I got a real collector's item. To which Charlie Brown says, Roy Hobbs was a fictional character. This shoots Lucy's hat right off her head. And then it ends in a big brawl between Lucy and Roy Ann. To which Charlie Brown says, be careful. You're messing up my pitcher’s mound.
Harold: Looking at the second panel of Lucy. That is a rough drawing. I mean, that is. He's fighting here.
Jimmy: Yeah, he.
Harold: With that incline. It's a little hard to look at, but it just looks like he's really-- He's got a really heavy. And as large as he's drawing Lucy here, too. it's kind of surprising to me how that just every single line, except for that swoop of the front of the face that he can get in, like a single stroke. It always looks so clean.
Jimmy: It really does.
Harold: which is amazing to me, given what we know he must be up against here with his hand tremor.
Jimmy: Well, and we see he starts leaning into more expressionistic stuff like the fight at the end there, you know, and you'll see that.
Harold: Yeah. Masterful uses of zipatone scraps.
Jimmy: By the way, they are doing an, exhibit at the Schulz Museum. It's about Schulz and zipatone, right?
Liz: Yep. That's correct. Or it's a different kinds of shading.
Jimmy: Right. What's the,
Liz: Just a moment. I will tell you. Nice Shades. It's called beyond the lines in Peanuts.
Jimmy: Oh, that's very cool. Very cool.
Harold: So see how long it's running
Liz through July 13th.
Jimmy: All right, so if you're out there in Northern California ways, go out and see what we're talking about when we mention all this zipatone and stuff.
March 11th. All right, so now, Lucy still wants the bat. So she is in a tug of war with Roanne trying to get the bat back. And Charlie Brown and Snoopy are watching. And, this is how the argument back and forth goes. This is one big word balloon. And it's both of them yelling back and forth, you sold me a worthless bat. I did not. I want my dollar back. Try and get it. Let go of that bat. Let go yourself. Give me my dollar. Let go. Let go yourself. And in the next panel, Snoopy just comes up and saws the bat in half.
Harold: He's kind of channeling King Solomon.
Jimmy: King Solomon Action.
Michael: Yeah. It's the biblical solution.
Jimmy: I love the look on, the annoyed look on Snoopy's face.
Harold: Yeah. He's like, I'm gonna finish this.
Michael: I don't know about his idea of them sharing the balloon caus. It's clearly two people saying different things.
Jimmy: Yeah.
Michael: It kind of violates the rule that it would have to be both of them saying this.
Liz: yeah, but it's at the same time.
Jimmy: But it does work. Here's ye.
Harold: Because you know who's saying what.
Jimmy: Yeah. I tried to do. I'll tell you exactly when I tried to do something like this. It was the second issue of Amelia. So it's the second chapter in the first trade paperback where they go to school and Amelia And Rhonda are yelling at each other over top of each other. And I did it with two different color lettering, and I have to say, didn't work. I think this works, better. I like this.
Harold: Yeah, it works for me just because I know who's saying what it looks like. It's an argument that's heated with lots of fast back and forth. And they're all kind of. They're 50. 50 in terms of what? Giving and getting.
Jimmy: Yeah, absolutely. And, you know, it's cool again that here we are, 44 years into his career, and he's trying something he never did before. That's cool.
Harold: Yeah. And, not to keep talking about the tremor, but I'm going to keep talking about the tremor just because it's so noticeable that that had on Lucy in the second panel. I don't think I've seen it like that before. That's kind of a new. A new level of, tremor on the strip.
Liz: Why is. Why is hers tremor-y but Charlie Brown's is not?
Harold: It's a good question. I think it's really hard to know what he was dealing with. It seemed like it was a steady thing, but I think there was some talk of it kind of coming and going.
Jimmy: Oh, yeah, I think so.
Harold: I don't know what if he knew what brought it on or. It doesn't seem like ituse he could have, like, tried to time his drawing. Maybe he did to when it was minimized. If it had to do with day to day things. A certain time after you wake up or after you've eaten. Yeah, I don't know. Or it was just one of those things. You couldn't tell when it was going to hit. And he, he was a, professional who had to plow on because he's got to do this every day.
Jimmy: Let me ask you guys a question. Let'll start with Michael. When you're drawing, does the way you draw change based on, like, the emotion of the scene? For instance, if you're drawing a dramatic scene with, like, Sophie, you know, running away from danger, do you draw that faster? Do you press harder? Do you like. Is there any difference?
Michael: for me, no,
Jimmy: Harold?.
Harold: I can’t say I go faster. I'm definitely one of those people that I, When I'm signing books at these conventions, I'm seeing it and feeling it in my face. If I got a big smile on a character or whatever, I'm doing the emotion physically, but in terms of actually doing it at a different pace or with a different level of emphasis with the tool because I'm feeling the emotion. I don't think so. How about you, Jimmy?
Jimmy: I do, Yeah, I absolutely do. And I noticed it recently because I'm working on this, In the Real Dark Night book, and there's a scene where. Well, there's lots of scenes like this, but a monster is attacking one of our heroes. And I was trying to erase it, and I'm like, my Lord. I was pressing so hard and this like, pencil drawing is almost violent.
Harold: Wow.
Jimmy: And so look, I happen to have a couple other like, Amelia pages around and stuff. And I looked at a page of Amelia in a tussle, and it's the same way. It's like you could still see all the pencil lines. Cause I was pressing so hard. So, my point being about this is maybe that's also how Schulz works, and maybe that affects it to the point. What made me think of this is Liz saying, why is Charlie Brown's hat not that way and Lucy's that way? Well, one thing that's different is what he's trying to convey.
Harold: That could be. Yeah, yeah. I mean, you see Charlie Brown and Snoopy in their three drawings look more like 1994 Peanuts that I've been seeing strip to strip. And the other two characters definitely look much, much more, tortured, I guess is tough way to say it.
Michael: It is the grunge era.
Jimmy: Yeah, it's absolutely the grunge era. I am so shocked at how Peanuts looks, how 90s Peanuts looks. You know the zipatone, the grungy, aesthetic quality of the line. It's really freaking 90s, which is really strange, cause so much of it is just based on just pure physicality of. The man's older. He's been doing this a long time. But it does, it is reflecting the grunge era.
Harold: Well, I will say the lettering is masterful. Again, he knows every little stroke of the lettering, and he seems to be able to get every single one of them in before there's a tremor hit. Yeah, that's incredible. How do you do that?
Jimmy: You're a master. who, who does this every day? I guess that's the only possible answer.
Harold: But when he signs his name now, he lets the tremor live in his signature, even though you don't see it in the lettering.
March 19th, Charlie Brown is asleep in his beanbag chair. And then the next panel, he wakes up and shouts, the ball was right over the plate. Why didn't I swing. And then the next panel, he goes right back to sleep.
Jimmy: I picked this just cause I relate to it. I mean, this. This could be me twice a week.
Michael: Yeah, it could be you. Something that happened two years ago.
Jimmy: Oh, yes, easily. Or 20 years ago, more likely. Probably. does that ever go away? Do you still have things that, you know, moments from childhood that even though decades have passed, they still give you that cringe feel?
Michael: Oh, yeah, yeah. We're talking 60 years past. Oh, my God. So stupid.
Jimmy: And it's so funny because it's so universal. You think we'd all be able to laugh at it easier, but when it's your thing, it's not funny. It's just. Just pure pain and awkwardness.
Harold: Yeah.
Liz: Speaking of my pain and awkwardness is that I didn't do it, but I might have done it. And I still feel ashamed.
Jimmy: Oh, yeah.
Harold: Wow. The thing that didn't happen. Yes, just like. Just like you're seeing with Charlie Brown. Like, why didn't I swing?
Liz: Well, no, it's more like, I.
Jimmy: Could have done something bad. I thought about doing something bad, but I didn't. But I still feel guilt.
Liz: Yeah. I might have said something when that person could have overheard me. I didn't, but I could have. And it would have been so awful. And I just feel such shame that that didn't happen.
Jimmy: That you get the Anna May Gownley Award for unnecessary guilt.
Liz: Thank you. Thank you. I'm so honored.
Jimmy: That is amazing. That is.
Harold: I'll say. One thing I've noticed when I was reading the strips for this episode was how many strips feature resting and sleeping? It's a lot. There are so many mean. We now see Snoopy often resting on Charlie Brown or over his leg. but there's lots and lots of moments where people are in bed, they're asleep, their eyes are closed. More so than I think ever has been in this strip.
Michael: Being in a comic strip is hard.
Jimmy: Work, especially 44 years.
Harold: Right.
Jimmy: You know, I think the older he gets, the more you do see. Direct one to one. this happened in my life. It's now in the strip. Like the dog on the lap and he doesn't want to wake him. the dog's obsession with the cook strikes me as something that came from his relationship with his dog. It seems like he's less interested in, you know, hiding the fact that it's just him talking directly into the strips.
Harold: Yeah, I can see that. Yeah.
March 20th, it's Sunday. Charlie Brown's on his pitcher's mound. And he says my pitcher's mound looks great. Then Linus comes up with a rake and says it's going to be a good season, Charlie Brown. Then Charlie Brown and Linus go back and we see the backstop behind home plate. And Charlie Brown says our old backstop seems to be in good shape. How about the outfield? Linus looks out and says all mowed Charlie Brown. It's beautiful. And we've raked the infield so it looks better than ever. They look over it as they walk through it and Charlie Brown says to Linus, then all we have to worry about is the sound system. Which Linus says, the sound system? And then we see Lucy out there in right field yelling this year let's try to get the ball over the plate, you blockhead. And Charlie Brown says the sound system is still working.
Jimmy: I really like, I think, we have not added anything to the gallery of 20th century objects. But I would like to add the backstop because that is a perfect thing to draw when you have a hand tremor is a Little League backstop that looks exactly like our rickety old Little league backstop.
Harold: So I have to ask from sheer ignorance, all these years we've seen Charlie Brown standing on his pitcher’s mound.
Harold: I have no recollection ever seeing a field that, where kids are playing, where there's a pitcher’s mound. I mean, is this a physical thing where. I mean this is way up high. I mean this is over half of Charlie Brown's height that he's standing on. Did these exist?
Jimmy: I mean only if you had like, like yeah, like we had the little league field in Girardville and you were able. It was just part of the park. So any. As long as there wasn't a game there, you could play. You could take your family and play a softball game or kids could go and play and everything was still there except the first, second and third base. Those because they don't want people to steal them because they're, they come off. but there was the pitcher’s mound, was there the backstop home plate.
Harold: So yeah, I mean is there, is it literally a mound? Is it like a foot or.
Jimmy: I'm not sure how. Yeah, it doesn't look like it doesn't look like that. It's higher in the back and it slopes down in the front so that the pitcher is throwing from the top of the mountain and gets that extra juice going into it. Yeah.
Harold: Okay.
Jimmy: You don't pitch from the flat ground. You have to be up on the mound. Not sure all of the physics of why.
Harold: But.
Jimmy: Yeah, so I think the backstop should be in the good old gallery of 20th century objects, which, by the way, you can find on our website unpackingPeanuts.com. there's all kinds of great stuff. First. You should go over there. I should have told you this at the beginning. If you want to follow along with us, first you go over to our website, you sign up for the old great Peanuts reread. That's on unpackingPeanuts.com. that'll get you one email a month where you hear what we're going to be covering, and then you can follow along with us. But the website's great anyway because Liz puts a lot of work into it. All our Peanuts obscurities that we explain are up there. It's fun. It transcripts the whole deal. It's a good time.
March 22. Peppermint Pattty is lying on the floor in her house, talking on the phone, and she says, hey, Chuck, I need your help with the school assignment. We have to interview a businessman. What does your dad do? A barber. Ask him if that's a business. Apparently, Charlie Brown does this. And then Peppermint Patty answers in the last panel. An art. Well, I guess that'll be all right.
Harold: You go, Charlie Brown's dad.
Jimmy: I like this little sequence, because, you know, I guess they forget that they've already met at this point 14 years ago when he cut her hair like a little boy. but I like the little sequence where she goes to visit Charlie Brown's dad. That, continues here.
March 24th. Peppermint Patty is at the barber shop. She's taken notes for her project, and she says, yes, sir, I'm supposed to interview a businessman. So I have these questions. How'd you get started as a barber? Is there room for advancement? What about healthcare? Is it a good career for women? Then Peppermint Patty, noticing someone has left finished, his haircut, says, y'all come back now, you hear? And then Peppermint Patty says to Charlie Brown's dad, you did a nice job on that guy.
Michael: It's kind of funny. Cause it isn't funny, right? There's no gag here.
Jimmy: No.
Harold: Except unless the. Y'all come back now you hear.
Jimmy: Who is that?
Michael: So I didn't know she was from the south.
Jimmy: There was a. What's that from? Y'all come back.
Harold: Beverly hillbillies.
Liz: Oh, I thought it was petticoat junction
Jimmy: So it's not from the 90s, though?
Liz: No, no, no
Harold: no, it makes, it makes our references, not sound not so old. He's going back 30 years. But it's so funny. I mean, this is, of course, could have been something that Peppermint Patty was watching in syndication.
Jimmy: Oh, absolutely.
Harold: It influenced her.
Jimmy: Well, I think about, you know, Gen X and maybe the oldest millennials, but probably not even them are really, you know, our, our childhood media was awash in the previous generations childhood media. And even some things that weren't for children became retrofitted to be our childhood media. You know what I mean? And now things are made so directly for kids. Saturday morning TV. There's 24 hour cable channels and streaming service dedicated to kids.
The other thing I just want to say about this, to Michael's point of like, there's not a gag. There's just like this little moments. He does this in five panels as a daily. And I think that's an advantage to him now that he's changed, the format. Because if he did this as a Sunday and you would feel that you would need a gag. I think Sunday is such a bigger, enterprise. These little quiet moments I don't think he could do as well. So it's nice that he was able to.
Harold: And as a sequence, if you're doing it in order, you know, he very rarely would go daily, daily, daily, Sunday, daily, daily in an ongoing storyline because he was doing it out of order. He would have to have done that Sunday a couple weeks before those dies. Unless he held the dailies until he could line it up with a Sunday. Yeah, there's some weird dynamics going on here.
Jimmy: All right, listen, guys, how about we take a break right now, come back on the other side and check the mail.
Liz: Sounds good.
Jimmy: All right, we'll be right back.
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VO: Hi, everyone. You've heard us rave about the Esterbrook Radio 914. And what episode would be complete without mention of the fab four. Now you can wear our obsessions proudly with unpacking Peanuts T shirts. We have a Be of Good Cheer Pen nib design. Along with the four of us crossing Abbey Road and of course Michael, Jimmy and Harold at the thinking wall. Collect them all, trade them with your friends. Order your T shirts today at unpackingPeanuts.com/store.
Jimmy: And we are back, hanging out in the old mailbox. Liz, do we got anything?
Liz: We do. Okay. We heard from super listener Debbie Perry, who says, you've suggested that the 1990s have brought about a decline in the quality of Peanuts, suggesting that Charles Schulz may have been consciously aiming it at what kids would enjoy. I would respectfully disagree with that assessment.
Jimmy: No need to be respectful around here.
Liz: Schulz may no longer have been writing an intellectual strip, something he would have denied anyways. but he was still writing an intelligent strip. And she goes on to give several examples of that. but continues, he's also turning out some of the most ambitious visuals he's drawn in the strip since the early 1950s.
Jimmy: Yeah.
Liz: And she concludes with, even a simplified Peanuts that increasingly returns to old themes is still ahead of many other strips of its time for the variety and range the strip still shows all these years later.
Jimmy: Oh, yeah, I absolutely agree. Yeah.
Harold: Or we wouldn't be doing this. No, seriously. I mean, even if we're looking at this through the lens of previous Peanuts, and I think. I think you're right. I mean, that's the thing. Even. Even these kids versions of the Saturday Morning version of Peanuts was way more intellectual and thoughtful than anything else that was on Saturday Morning, for example.
Jimmy: Oh, absolutely. Yeah.
Harold: But I guess I, Mean, Debbie, I'm sure you got what we were saying that we. That there seems to be a, conscious awareness that downstream, when he's making some of these things, it may have to be retrofitted for other use. And that may not be a fair thing to say. And obviously you disagree with that, but it kind of feels like that might be in his head because it's. It's. It's a piece of his life that he has to deal with all the time. There's constantly a demand for more specials. There's a TV series and all of that. So I don't know. What do you guys think?
Jimmy: Yeah. You know, the other thing that's a part of just the general change of anything is simply the passage of time. And he is much older now, and it might just be nothing he could articulate or even is aware of. He's just a slightly different person, maybe in many ways a very different person than he was when he started out. One thing. This is not exactly the same thing, but I'm drawing some new Amelia stories for the 25th anniversaries that are coming out, and I'm drawing them in the style that I drew those books in, which is next to impossible. And, Michael, you're going through something very similar at this drawing. Strange Attractors. I mean, do you want to talk a little bit about that. It's really difficult to draw how you used to draw, even though you didn't make a conscious change to draw differently.
Michael: No, no, everyone evolves. It's just stylistically, it's just part of continuing to be. Do creative things. You're going to change. And I, don't think anybody consciously changes their style. Yeah, it just. You can't stop it.
Jimmy: Yeah. And I think that works as well with the stories you, know, or the jokes or whatever the written part of cartooning is. Yeah, I just think that's something that we really have to just take into account. This is a long time.
Harold: I'm wondering what Debbie would think of just the idea that we know Schulz would respond to what people responded to. And back in the 50s, it was super hard. And pretty much all the way through his run of doing these strips, he wouldn't get the instant gratification or the instant feedback. Say that anybody who's doing it, a strip on the Internet, who will know within a couple of hours of the time they get published whether something struck a nerve, you know, you'd hear about Psychiatrist Booth, how long afterward that somehow, that was something people were responding to. And again, I'm just thinking of it from that perspective, and it may just be me placing this on top of Schulz because of what I know about the animation and all of that. But, yeah, not just that he needs content, but that, he knows that Peanuts works with that audience, the audience that he said he never was shooting for. He can see the demographics on these, specials. He can see how many women and men and children watched the specials when they came out. He knows that Dolly Madison is running their ads for cupcakes. And, it's really kid oriented in terms of who these are for. And so he's getting feedback that kids are getting a lot out of his strip and maybe more so than he ever knew. And again, maybe he's responding to that. Maybe he's leaning into that because he sees that there's something in his strip that people are pulling out of it and enjoying it. And they happen to be children. I don't know.
Michael: It's also, you know, getting back to Debbie's comment, it's totally subjective. Well, right here's, the three of us. I mean, we're going through the same process, and here we are in mid-1994, and our picks. There's like, I picked very few in this. For this episode Jimmy picked more than he's ever picked before. So you know what's not working for me is working for Jimmy.
Harold: Right. Well, I overlapped with two of you guys’ strips, I think, from. From the set. So it's not like we're all going, oh, there's, there's, there's genius right there. That's the one. You know, and sometimes I'm surprised the one I picked. Oh, everyone's gonna pick this. And no, it's just me.
Jimmy: Well, and it's further complicated by the fact that sometimes you're picking something to discuss not because you like it, but because it doesn't work. Right. So that skews it, or you're just curious about it, you know, like. Well, like the Patty one I picked because I wanted you guys to tell me, what do you think this person is? And not that it's the best comic strip.
Harold: but it's the interesting comic strip.
Jimmy: It's the interesting. Yeah, yeah, yeah, yeah. Well, it's. Bottom line is, we love them. That's why we're doing it. And we know, you love them, which is why you're writing in. And, we appreciate it. Debbie, thank you so much.
Harold: Thank you.
Liz: And a bunch of people wrote in this week. Paul Castiglia writes that in the 1993 Part 3 episode, he thought it was great that Harold brought up how the public's consumption patterns of entertainment in the past were different in their own times than they are now. He continues, this extends to live action comedy shorts that were released theatrically too. There were a lot of sight gags and jokes repeated in Laurel and Hardy shorts and Three Stooges shorts, to the point that when people watch them on TV now, all bunched together one after another, they can get the false impression that these comedy acts were limited trick ponies.
Harold: Yeah, yeah.
Liz: These shorts were never meant to be watched this way. And he adds to Michael's point about the syndicates expecting the reading audiences to be recycled every few years. From my time at Archie Comics, there used to be a rule that stories published in the then current year couldn't be reprinted in a digest until about five years later, as
Harold: that was true when I was there.
Jimmy: Yep.
Liz: the audience would have been refreshed by then with newer, younger readers who'd be unfamiliar with the story. And he concludes with, I think Schulz polishing off an old hit and if possible, seeing if he can give it a new spin had to come internally from both a fondness for the individual strips he chose to repurpose and a belief that their messages were still relevant in some way.
Jimmy: Yeah, yeah, that makes sense to me.
Harold: I agree. I agree, Paul.
Liz: And Anne from Pennsylvania, writes that she's listening to 1992, part one. And on January 8th, there's a three panel strip that I immediately imagined as a four panel strip. We're teaching people to improve on genius. she writes, Charlie Brown is reading Alice in Wonderland to Snoopy. In panel two, Snoopy vanishes, leaving only a smile, and reappears in the final panel. Because the Cheshire cat is described as disappearing beginning with the end of his tail. I imagined a panel between one and two where Snoopy was missing his tail. Not sure if it would be better, but that's where my mind went.
Jimmy: Nice. Well, you know, that is one of the great arts of cartooning is deciding the moment to show and what not to show. And sometimes it comes down to, like, I don't feel like drawing another panel today.
Harold: Yeah, that's interesting. as, as you read these. And if someone hears your reading it used to be with the daily, you knew the beats.
Jimmy: Yeah.
Harold: And not so easy anymore to visualize what Schulz might actually have done with the strip you're describing, because he had, all of these variations going on.
Jimmy: Yeah, he could have really subdivided it if he wanted to, you know, gotten crazy with it.
Liz: And then last week we talked about Charlie Brown, whether or not he wanted to get out of going to school. And a few people voted on our poll asking listeners what they thought. And, Troy Wilson writes, here's my theory on Charlie Brown's attempt to leave school and see Snoopy. Maybe Sally's attitude towards school is finally rubbing off on him after all these years. Maybe her influence has corrupted him just a teeny tiny bit. So he makes this attempt in the most honest, authentic and caring way he can. Snoopy would indeed be interested in this subject matter. And Charlie Brown does indeed care enough about his dog to want to pass along the info while it's fresh in his mind. and when he sinks down in the end, he's disappointed for two reasons. A, he's disappointed that he failed, and B, he's disappointed in himself for uncharacteristically doing this.
Harold: Oh, wow, that's very well argued. Yeah.
Jimmy: Yeah.
Harold: This is the kind of strip that could have those layers all baked in even if the creator didn't know. Oh, for sure that's what he was thinking, you know, for sure.
Liz: And Shayna Hickey writes, I think Jimmy is right.
Jimmy: Yeah. This has been Unpacking Peanuts. Be of good cheer, everybody.
Liz: Charlie Brown was Just trying to get out of school. However, this is a newer behavior for him. And she adds, thanks for this awesome podcast. It truly is a bright spot in my week that I look forward to every week.
Harold: Oh, thank you.
Jimmy: Oh, that's wonderful to hear.
Liz: That's it for the mail.
Jimmy: If you guys are out there and you want to contact us and hear your voice in the show, you can give us a call at 717-219-4162 or you can leave a text. We got, some of both. we heard from super listener Jim Meyer, who writes my vote for Lord of the Rings casting is Lucy as Galadriel.
Michael: No way.
Jimmy: She would show the Hobbits a vision in her mirror of her saying, instead of a dark lord, you would have a queen, a Christmas queen. Then when the vision fades, she would say, five cents, please. That's pretty good, man.
Michael: That's good.
Jimmy: Yeah. Well, she'd need a wig.
Michael: I was thrown by her dark hair.
Jimmy: She would definitely need a wig. But it's a pretty good bit. we heard from super listener Captain Billy. Hi, Captain Billy here, referencing 1993, part two. One, thank you for dubbing me a super fan. The greatest thing that has ever happened to me since becoming a webelow. Two, Liz saying I love you, Captain Billy is my new ringtone. I made her laugh again, didn't I? All right, so, he also has a tidbit for our listeners. The easiest way to get a text read in the show is to pay someone a compliment. Captain Billy gets it.
Harold: Yes.
Jimmy: And he concludes with Unpacking Peanuts is the greatest podcast in the universe. Awesome.
And then we heard from super listener, Joshua Stauffer, who says, worry no more, Jimmy. Here I am. I've got two things exactly. First of all, 1.2.94, I do believe Charlie Brown was trying to get out of class. Thank you, Joshua. Because A, I don't recall Snoopy being overly interested in astronomy. I could be wrong. That's a good point. And B, it's very possible that Sally's constant rebellious attitude towards school is rubbing off on her big brother. Just too for that. Plus, we actually did see Peppermint Patty and Pigpen going to a dance together in February 19th. That's right, we did. So while they may not have played in the mud together, they did have a short lived relationship.. Be of good cheer, Joshua Stauffer.
Liz: Thank you, Joshua.
Jimmy: Thank you for writing.
Harold: Thanks.
Jimmy: And yeah, that is true. That was a great sequence. well, we got stuff from the old voice voicemail.
Sawyer: hi, my name is Sawyer Honeycutt. I just recently found your podcast. About two weeks ago. I just finished listening to the conclusion of season three, the 1960 through 64. And I just have to say, I love your podcast. Best podcast I've ever listened to. And I have a question-- for Charlie Brown. Which shirt color do you like best? The yellow, the red, or the orange? Okay, have a good rest of your day and be of good cheer.
Jimmy: And then he has a P.S. What one graphic novel would each of us recommend? So, first off, what color Charlie Brown shirt and what graphic novel? Let's start with Michael.
Michael: Any graphic novel?
Jimmy: Any graphic novel.
Michael: Well, I'm going to pick one that probably most of you haven't seen. I'm going to pick Finder by Carla McNeil.
Jimmy: All righty.
Michael: I think there's, like, 10 volumes of this. It's fantastic. Really interesting, well thought out fantasy world she's created. And it's. It's not like anything else you've ever.
Jimmy: Read, and you get 10 volumes of it, so get to work. Man, that's a lot of reading. And yellow, red, or orange? Charlie Brown shirt.
Michael: I've never seen these in color, but it. I think it would be yellow.
Jimmy: Yellow, Harold?
Harold: Yellow. And the dumbest idea ever.
Michael: Brown noser.
Jimmy: Liz.
Liz: Ummmm, well, yellow. And the one about the funeral home. Fun Home.
Jimmy: Fun home. All right, so I'm going to make it a clean sweep here with yellow. And I'm going to recommend the dumbest. No, I'm just kidding. I'm going to recommend Death of Speedy, by Jaime Hernandez. Love and rockets. It's only 64 pages. I'm astounded by that. Every time I read it in my mind, it's 500 pages, and that's it.
I think that's all we got right now. We might have one or two, but we'll save those for the next time. And that wraps up the old mailbox. So if you want to get in touch with us, go over to our website, Unpacking Peanuts. Sign up for the Great Peanuts Reread. You can email us unpacking Peanuts gmail.com and call us at 717-219-4162. And we love hearing from you, because when I don't hear, I worry. But I'm not worried this week. Thanks, guys. Yay. All right, let's go back to the strips.
March 27, Snoopy is leading the Beagle Scouts off on a hike across a long, fallen tree. Very beautiful drawing. This is a Sunday. And we see him lead them over a hill and then up a rocky slope and then really climbing up a very steep slope where we actually see a few birds, hanging out in a, In a nest in a tree, because it seems as if they're actually ascending above the timberline. And then we get to the top of this hill, which is just a peak. It's barely bigger than Snoopy. And he says, this has been a long uphill climb. And all the Beagle Scouts are up there with him, and, you know, he's level with the clouds, and he says, but it was worth it, wasn't it? Of course, now we have that little problem of getting down, but it's not a problem for the other Beagle Scouts, who apparently leap off the top of the cliff and like skydivers who link hands in a big circle as they go down. That's the Beagle Scouts getting off the cliff.
Harold: Snoopy, rolling his eyes.
Jimmy: Yeah, the rolling his eyes is actually what makes it for me. Well, the drawing of all the birds linking wings is brilliant, too. Would any of you, either of all three of you, would you skydive, if you could?
Michael: I actually had booked it.
Jimmy: Really?
Michael: And thank God it rained.
Jimmy: Wow, that's surprising. So why. When was this and. And you just. It was the weather. You gave you second thoughts. You're like, forget it.
Harold: Yeah.
Michael: I was trying to impress somebody with my utter bravery. Evie Wick. Because she was going to do it, so I was going to show her what a man. But when it rained, I said, okay, there's no way I'm ever going to do this.
Jimmy: Yeah. This is a sign. How about the other two guys? You guys want to ever jump out of a plane for no reason?
Harold: Nope.
Liz: Not anymore. But there might have been a time in my life when I would have.
Jimmy: Yeah. You could not pay me any amount of money to jump out of an airplane.
Liz: No. But isn't this a repeat of a strip in the past where the birds fly when Snoopy has to?
Jimmy: Yeah. They don't do, of course, the little, synchronized air ballet, but. Yes, there is another one.
Harold: Yeah. You get some angles on these birds you've never seen before because he has to do a complete circle of them, which is pretty cool.
Jimmy: Yes. Yes. I really, I mean, mostly I picked it for just that last drawing. It's so cute.
April 2, Snoopy and Woodstock are atop the doghouse. And it is, windy as heck. Some leaves are blowing by, and Snoopy says, what? Because Woodstock is talking. But we see all of the little hash marks are moved to the left side of the word balloon. and then the next panel, we see the little hash marks of Woodstock speech have left the word balloon completely. And Snoopy says, sorry, I can't hear you when the wind is blowing.
Liz: That's brilliant.
Michael: Well, this is a good advertisement for cartooning because you can't do this in any other media.
Jimmy: No.
Harold: Yep.
Liz: God, that's good.
Jimmy: I mean, when you think so, like, okay, so we have the innovation of the character sitting on top of the doghouse. That's purely Peanuts. We have the fact that Snoopy is communicating via thought to his animal friends. That's purely Peanuts.
Harold: Yeah.
Jimmy: The graphic depiction of a bird chirping as just hash marks in a word balloon. That's purely Peanuts. he invented all of this stuff and now he's playing with it with this formal joke of the like, Michael said this. You can only do it in a, in a comic strip. Could not be done anywhere else. It's amazing.
Harold: Yeah. I was looking at that second panel of Snoopy and another thing that he does in cartooning, we always talked about the pose that Schulz will go for, the pose that looks the best, even if it doesn't make anatomical sense.
Harold: And Snoopy is, we're seeing him in profile looking at Woodstock on this very tight plane of the top of the doghouse.
Harold: Then you see a, like a three quarter view of his body that's facing away from Woodstock. And then if you look at his two paws, the, the paws are straight on. So and there, there's no way that his, one leg would be as long as it is here, except for the sake of just an interesting design. This is just a classic example of Schulz finding something that looks most interesting, not what's anatomically correct.
Jimmy: I read an essay once about Jack Kirby's art and talking about how, his anatomy was so wonky, but the person writing the essay was saying, well, you're sort of judging it incorrectly. Kirby's actually showing you moments of motion in one drawing. Like exactly what you're describing here. This is the drawing of Snoopy in the wind, turning his head. And even though you would have. This would have been if it was animation, say whatever. It would have been like 12 drawings. parts of those 12 drawings he was saying in Kirby's work are combined in one drawing to make this meta drawing.
Michael: So this is nude descending a staircase, right?
Jimmy: Yeah, something like that, yeah.
Harold: Except Snoopy's sitting stationary on top of.
Jimmy: Yeah. Dog sitting on a doghouse. Yeah. And I don't know, I read it's probably in the comics journal or something. But I thought, you know, it made a lot of sense to me.
Harold: Yeah, I mean, it's. It's one of the things you can do in cartooning that he's proven, just by reading through all of these, that he's chosen the better path. You know, you break the rules if the rules serve the emotion or the appeal. Because everybody knows it's Snoopy, right?
Jimmy: Yeah.
Harold: There's no question it's Snoopy. So how does he draw this? In a way that is most interesting, and he's absolutely fine. He knows how to draw. He knows perspective.
Jimmy: Right.
Harold: But that isn't the important thing here. And I think that's helpful for us as cartoonists, especially ones who were trying to boil things down into such simplicity like he does. You've got a lot of leeway to play with.
Jimmy: Yeah, there's a lot to talk about in this ridiculous art form.
April 3rd. It's a Sunday. A symbolic panel of Sally's head between quotation marks. And then she's at the, family table doing some homework. And then we see she has drawn a bunch of commas, and Charlie Brown is watching her. She says to Charlie Brown, these are commas. If a comma works hard, it can become an apostrophe. See? And she writes the dog's moan, the cat's whiskers. She continues saying to Charlie Brown, if a comma finds a partner, it can go into pairs. They can become quotation marks. Ah. he said, Charlie Brown says to her, aren't the ones on the left upside down? And Sally says, to become a real quotation mark, they have to learn to do it backflip. And Charlie Brown walks away saying, I'd better go. I have some writing to do for homework. And then Sally calls after him. Watch those quotation marks when they do a backflip.
Harold: So we learn in this year that Sally, at least for one semester or quarter of school, is a straight A student. And, this is a really good example of her creative thinking showing her brilliance. You know, the squeaky wheel gets the grease. You know, every once in a while, you just see Sally, who seems to be out of touch with everything that's going on in some of these strips, really has something going for herself in her unique way of seeing the world that is actually incredibly creative. You definitely see it in this trip.
Jimmy: You know, I had an issue when I saw that, like, Sally is talking to Charlie Brown. She's like, why? I'm a straight A student. Of course I am. I'm a good student. I do my work, I show up, whatever, right? I thought, well, gosh, that's so unSally. But then I thought, or is it? I could see her just choosing to be a straight A student for a semester and then gaslighting everyone around her, like, what are you talking about? I've always been a great student. I love school. I could absolutely see that in her personality.
Liz: But, wait a second. That last panel, is that really necessary?
Harold: That. Where would you leave it?
Liz: I'd better go. I have some writing to do for Homer. I mean, I just watch those quotation marks when they do a backflip. Does it seems like not a great punchline.
Harold: What if you cut out the last two panels, Liz? Would that work better for you? Where she says, oh, yeah, that does work better.
Jimmy: Yeah, cut out the last two.
Liz: Yes, you're absolutely right.
Harold: There you go.
Jimmy: We fixed it for you, Sparky.
Harold: You know, it's interesting because it has so much to do with how he views his characters in the context of his strip. Virtually any other cartoonist who had thought up this clever way of looking at punctuation marks would be very satisfied where. Okay, the. I'm going to. I'm going to hit the homer at the end, by putting the joke about the backflip. And then there would be an exclamation point at the end of backflip. That's your punchline, that's your strip, and that's not Schulz. It's. It's. It's interesting that he. He de. Escalates the strip in those last two panels. And in a way, you could say he doesn't stick the landing, but he already stuck the landing two panels ago.
Jimmy: He's doing this on purpose. Yeah, very interesting.
April 5th. Peppermint Patty and Marcie are at a Tiny Tots concert. And Marcie says, I wonder how the composer could write something so beautiful. She continues, I wonder how the violinist can remember all those notes. Peppermint Patty looks up into the ceiling and says, I wonder how they change those light bulbs way up there in the ceiling.
Harold: I love this strip. Talk about character based humor. That tells you just volumes about these two. Two friends.
Jimmy: Yeah, I love the drawing of Marcie, like, holding her hand over her heart. She's so moved, even though her expression is so neutral for the most part, all the way through.
Harold: And yet somehow you really do feel it in the drawing. And it's so true to the two characters. And Peppermint Patty is in some ways so incredibly practical, so interested in the physicality of the world, that I think that's just. That's such a perfect counterpoint to Marcie.
April 6th. Charlie Brown is out there with one of his doomed kites. And Marcie and Peppermint Patty come up, and Peppermint Patty's looking a little bit disheveled. And Marcie says to Charlie Brown, hi, Charles. We've just been to a long symphony concert. To which Charlie Brown says, what's wrong with Patty? And Marcie says she was Mahlered.
Michael: This is something he hasn't been doing lately. I mean, this is really. Would make absolutely no sense to kids or half the population.
Jimmy: Right.
Harold: I really like this one, Michael. You and I both nominated this one. It is a unusual. and again, it's. Schulz takes us to these places of surreality that we accept because we've just bought in, and he just takes us a little further out on a limb and further out on the limb and further out on the limb. And now you're in a world that only you can share with Charles Schulz, because it's his world with his rules. And here you got. And it's. It's a pun, right? It's just a pun gag, but it's still tied in with the characters and goes back to the idea of the physicality of Peppermint Patty that she's interested in. How light bulbs are fixed way up in a ceiling, and you got to get on a ladder, and how do you do that versus Marcie responding to the beauty of this music? And it just seems totally to make sense in Schulz's world, then, that Marcie's coming out fresh as a daisy from this concert, and Peppermint Petty is disheveled from the music. There's a physicality, again, of how she experienced this music that you can't really explain. It's a funny pun, and yet it makes sense.
Jimmy: Yeah, it's wild. Yeah, it is wild. And to Michael's point, too, there is such a great aspect of Schulz where he is still willing to do something, even if he knows it's not going to be, received or understood by a big percentage of the audience. If it's a good comic, he's gonna put it in there one way or the other.
Harold: Yeah. And it makes me think of Mystery Science Theater 3000, more than any other television show. There are more jokes in that show per episode, I think, than anything I've ever seen. And because of that, you're just rat a tat, rat a tat. And there are a bunch of them that you won't get, and you're not expected to get them. Now in another TV show, you'd be frustrated to no end. And some people are, I guess, when they watch Mystery Science theater. I don't get the jokes. I don't get that. I didn't get that. What was that? What was that? But once you get into the rhythm. I'm in a world where I don't know everything. It's like being a child again. Right. As you grow up in a world, we've talked about this before, where you don't, you don't know what's going on. You're used to being a child in a world where not everything makes sense.
Harold: And that, that's part of the interest of art that's oriented toward children. Should you make art where they get everything or you just edge them a little bit further into knowledge because you have some didactic thing that teaches them something? Or do you just throw this wild, crazy world that, you know, they don't get and they kind of figure out, oh, I don't get this either. But I'm in this strange world, just like the world I live in. And it's kind of cool to be in this space where I don't get everything.
Jimmy: Well, I will tell you what, One of the things I liked about Peanuts when I was little is that I did not get all the jokes. I, felt like I was reaching for something.
Harold: Yeah. It was like. Or the Bugs Bunny cartoons, they held Those World War II references, like, now you're cooking with gas. And there are references to old slogans.
Liz: Or Rocky and his friends.
Jimmy: Yeah, right, right.
Harold: Ah, yeah. And that is. I wish I'm seeing a little bit more of that, I guess, in kids literature now. Kids graphic novels. But that's something that I think there are different schools of thought on how you're supposed to experience art and what you expect of a child in particular. When they're experiencing art, you don't want to get them lost.
Harold: But there's a way to create a world that you feel like you're living in there because you get the characters, you get the emotion, but you don't always get the facts or the references. And, and that could be an incredibly exhilarating experience.
Jimmy: This is where I, when I have impasses with editors, it's usually in a realm like this. I could use an example. And it was a, great editor at S&S, so it's not a problem. But I remember her going, we, I guess we were re releasing the books in 2008 and the, you know, the first issues came out in 2001. And she's like, well, there's this joke about Leif Garrett. And she goes, well, the kids won't get it now. I'm like, well, kids didn't get it in 2001. And we're just like, staring at each other and, neither one of us understands what to do about this. Yes, I'm writing a joke I know the audience won't get. And no, I'm not changing it. And I understand. There's no way you can understand that.
Harold: Right.
Jimmy: And it completely contradicts what you need to do in your job. And yet I'm not changing it. And I. I'm sorry about that.
Harold: But.
Jimmy: But that's.
Harold: It's hard. It's hard to explain. It's hard.
Jimmy: It is hard.
Harold: It's a felt thing as a creator.
Jimmy: Yeah. Yeah.
April 12, Charlie Brown's watching TV in the good old beanbag chair, and Sally comes up and says, what's that supposed to mean? That's my new philosophy. She continues. Whenever someone says something to me, I just say, what's that supposed to mean? Charlie Brown, without looking away from tv, says to her, I'm glad you told me. Now I won't say anything to you. To which Sally replies, what's that supposed to mean? And Charlie Brown sinks into the beanbag, his little feet shooting up into the air.
Michael: Sally's definitely my favorite philosopher.
Jimmy: Oh, absolutely.
Michael: Yeah. I mean, each time she just adds more and more to it. Yeah. Well, we need to publish a book, on the philosophy of Sally.
Jimmy: Oh, I bet there is one. I bet there has. There is one. But we should publish a book. I'd tell you that much.
Harold: I wonder if you could just pick a whole bunch of Sally strips and then just tack one extra panel on where she's saying one of those things, and that would be the entire book.
Jimmy: That would be amazing. So, Michael, are you still loving, Sally overall now in this reread, you know, you've said Linus is your, you know, your GOAT, your favorite of all time. Leaving that aside, it, seems as if Sally is your favorite on this reread.
Harold: Yeah.
Michael: I mean, in the last 20 years, definitely. Yeah. I wasn't crazy about the apostrophe joke, but this one definitely, I think, is more the Sally I like.
Jimmy: Well, that's where you're wrong. The Apostrophe joke was the greatest joke.
Michael: No, I'm just kidding.
Jimmy: They can't all be winners. Which I often say to myself as I finish a page. Well, they can't all be winners.
Harold: That's your new philosophy?
Jimmy: That is my new philosophy, exactly.
April 29, Charlie Brown and Linus are hanging out under the tree. just, philosophizing. Snoopy's there, too. And Charlie Brown says to Linus, I wonder what it would be like to be a dog and not have to do anything. Linus says, maybe they think of barking as being work. To which Snoopy replies, woof. Then he thinks to himself, that was exhausting.
Michael: He is old.
Jimmy: He is an old puppy.
Harold: I know. There's that resting and sleeping stuff is just all over this year.
Jimmy: I do find it interesting that he really, is allowing his age to be shown mostly through Snoopy.
Harold: Interesting.
Jimmy: Who was also, in some ways, the most childlike and energetic. But now he's also. He likes to sleep and have some cookies.
Harold: Well, I'd like to make a nomination for the fanciest little, word balloon pointy thing history of Peanuts here next to Charlie Brown.
Jimmy: Oh, yeah, that is.
Harold: I don't know. So John Hancock, I think, took over finishing up that balloon.
Jimmy: That's so strange. I don't like looking too closely at the word balloon pointers. I have to be honest. They make me feel uncomfortable.
Okay, so that is, the end of another episode. We're going to come back next week and tackle more 1994 strips. And we, of course, would love for you to keep this conversation going, throughout the week. So the first thing we'd love for you to do is go over to our good old website, unpackingpeanuts.com. there you're going to sign up for the Great Peanuts reread. And that will give you one email a month where we tell you what's coming up in the podcast. Then you can also, if you want, you could write us an email to unpackingpeanuts@gmail.com or you can, call us at 717-219-4162 or leave a text. There's all kinds of ways to see us. You can also hang out with us on social, media, where we're at, unpackPeanuts on Instagram and threads and unpackingPeanuts on Facebook, Bluesky and YouTube. And we would love to hear from you there, because when I don't hear, I worry. So come back next week for more from 1994. Until then, from Michael, Harold and Liz this is Jimmy saying, be of good cheer.
MH&L: Yes, be of good cheer.
Liz: Unpacking Peanuts is copyright Jimmy Gownley, Michael Cohen, Harold Buchholz and Liz Sumner. Produced and edited by Liz Sumner. Music by Michael Cohen. Additional voiceover by Aziza Shukralla Clark. For more from the show, follow UnpackPeanuts on Instagram and threads. UnpackingPeanuts on Facebook, Blue sky and YouTube. For more about Jimmy, Michael and Harold, visit unpackingPeanuts.com have a wonderful day and thanks for listening.
Jimmy: yeah yeah yeah